[1] Regarded among the finest and greatest actresses in the history of Indian cinema,[2] she was known for her unconventional portrayal of strong and independent women.

[9] Her performances were highly acclaimed, and her most notable roles include Manthan (1976),[5][8] Bhumika (1977) for which she won her first National Film Award for Best Actress,[5][8] Jait Re Jait (1978), Aakrosh (1980), Chakra (1981) which earned her a second National Film Award for Best Actress and her first and only Filmfare Award for Best Actress, Namak Halaal (1982), Bazaar (1982), Umbartha (1982), Shakti (1982), Arth (1982), Ardh Satya (1983), Mandi (1983), Aaj Ki Awaaz (1984), Chidambaram (1985), Mirch Masala (1985), Amrit (1986), Dance Dance (1987) and Waaris (1988).

[20] Patil studied literature at University of Mumbai,[21][22] and was a part of local theatre groups in Pune and spent much of her time at the campus of the Film and Television Institute of India (FTII), causing many to mistake her for an alumna.

[23] Patil began her career in the early 1970s as a television newsreader[24][25] on the newly transmitting Mumbai Doordarshan, the Indian government run broadcaster.

[27] Patil's first major role was in his other film, Manthan, in which she played a Harijan woman who leads the revolt of the milk co-operative.

The film, in which she portrays an actress leading a tumultuous life through sudden fame and stardom, brought her talent to the attention of the world.

[18] In her films, Patil's character often represents an intelligent femininity that stands in relief against the conventional background of male-dominated cinema.

[51] For her portrayal as "the other woman" while acting opposite Shabana Azmi, she earned a second nomination for the Filmfare Award for Best Supporting Actress.

[63] She wept her heart out after performing the rain dance with Mr Bachchan in Namak Halaal; she felt she wasn't doing the right thing.

[66] Patil acted with Raj Babbar in films such as Bheegi Palkein, Tajurba, Aaj Ki Awaaz, Awam and Hum Do Hamare Do and later fell in love with him.

[72] The songs "Dushman Na Kare Dost Ne Woh" and "Ek Andhera Lakh Sitare" from Aakhir Kyon?

From the low key of the early frames to the full blast upper registers in the closing stages of the film: The transformation is awesome."

[11][78] Her arguably greatest (and unfortunately final) role came when Patil re-teamed with Ketan Mehta to play the feisty and fiery Sonbai in Mirch Masala, which released after her death in 1987.

[100] Nearly two decades later, notable film director Mrinal Sen alleged that Patil had died due to "gross medical negligence".

In the media, she is cited a style icon with various publications like Hindustan Times, including her among the topmost sex symbols of Bollywood.

Suresh Kohli of Deccan Herald noted, "Smita Patil was, perhaps, the most accomplished actress of Hindi cinema.

[120] Talking about Patil, her co-actor Om Puri stated: "Smita had an understanding of love, a lot of sincerity and warmth came through in her performances.

"[129] Mamun M. Adil of Pakistan's newspaper Dawn noted, "Patil was in her early 20s when she delivered towering turns which, speak volumes for the talent that simmered behind her mesmerising eyes.

"[130] Santanu Das of Hindustan Times added, "Rarely has an actor arrived in Indian Cinema quite like Patil; so full-bodied in her approach to the art of performance.

"[132] News18 India named her as an actress "remembered for her work and influence" and noted, "Smita Patil was famous for her serious roles, expressive eyes, and impeccable acting.

[3] Writing for Scroll.in, film critic Maithili Rao stated, "Art or mainstream, Smita was a magnet to film-makers hopelessly in love with her screen presence and the wonderful woman behind the image.

"[136] Gargi Nandwana from The Indian Express stated, "Smita Patil's films fearlessly traversed uncharted terrain — an absolute anathema for a Bollywood actress of that time poised for an illustrious career — navigating the intricate nuances, complexities, strengths, and vulnerabilities intrinsic to the female experience.

[138][4] Patil received critical acclaim for her portrayal of a feisty village girl in Manthan, an actress in Bhumika, a rape victim in Aakrosh, a slum-dweller in Chakra, a woman involved with a married man in Arth, a prostitute and classical singer in Mandi, a divorcee in Aakhir Kyon?

For Bhumika, it noted, "Smita's role is memorable not only because of her keen understanding of an actor and a woman's mindset but also because she flawlessly became Hansa during the film-within-the-film portions and her act giving the bygone era glimpse.

"[3] Shaikh Ayaz of The Indian Express noted, "In this repertory of talent that dominated the Hindi art cinema landscape, Patil was but a comet.

"[143] Raja Sen from Rediff.com noted, "The more striking side of the coin was Smita Patil, who had a compellingly intelligent presence that stood for both empowerment and sensitivity.

"[106] Ali Peter John from Bollywood Hungama noted, "Smita Patil was a complete and consummate actress, whose ability to face the most difficult challenges and triumph over them has become a part of the art of great acting.

[121] Odissi dancer Jhelum Paranjape named her dance institute "Smitalaya" (launched in 1989), in fond memory of Patil.

[164] On the occasion of 100 years of the Indian cinema, a postage stamp bearing her face was released by India Post to honour her on 3 May 2013.

[167] The Polish Film Institute and the Indian embassy in Warsaw organised "Smita Patil Retrospect", in Poland in her memory.